Interacting Identities: Sophie Cottin's Malvina (1800)

Interacting Identities: Sophie Cottin’s Malvina (1800) Charlotte Medland Modern Languages, University of Southampton

Women of all social classes were extremely proactive in the publishers’ choices to those books that guaranteed profit. French Revolution (1789-1799). They participated in the storming of the Bastille on 14 July 1789, and in the October • The resulting fall in the amount of original literature Days of the same year. Through historical accounts and published by female novelists during the Revolution, official records we know much about how women asserted especially 1794-1800,7 defines those who were published their identity, and how they wished their collective identity to – including Cottin – as important. develop. Women such as the writer Olympe de Gouges (1748- • Severe censorship in France at this time further limited the 1793) were very vocal in the first few years of the Revolution, freedoms of political and social expression, particularly calling for equal rights regardless of gender.1 Women’s initial for women. optimism and hope for equality were, however, replaced by • Thus, women writers had to make use of market forces anger and disappointment when they were banned from (harnessing the social and literary conventions of the political involvement by the Jacobin government in October time) and evade censorship if they chose to challenge 1793. Increasingly, between this exclusion and the rise to these conventions. power of Napoleon as Emperor in 1801, ‘political’ women, including Olympe de Gouges and Manon Roland (1754- Cottin, as a young widow on the edge of the French nobility, 1793)2 were highlighted as being a major cause of the growing would have had to take all of the above into account, not anarchy in public life.3Women were often categorised as only from a commercial perspective, but also in order to either ruthless, manipulative, often politically motivated remain socially secure. Malvina, published in 1800, but seductresses, or ladies of leisure, willingly ignorant of the produced between 1798 and 1799, offers a window on these unhappiness and destitution in others’ lives.4 challenges, and further investigation into the structure of this novel encourages the thesis that women writers during Some critical attention has been paid to literary political the revolutionary decade were using the ‘conventional’ novel women such as de Gouges, Roland, and the famously political for often subversive social and political commentary. The aristocrat Germaine de Staël (1766-1817). Though these exploration of this concept is the basis of this article. women defied the afore-mentioned categories in aligning themselves with the new patriotism, thus rejecting the Eighteenth-century literary traditions Ancien Régime woman in all her forms, they still represent Little had transformed women’s novel writing since Mme de a ‘public elite’, as they witnessed many key revolutionary Lafayette’s influential La Princesse de Clèves (1678). This events in person. Much less written information is available novel of sensibility, “viewed through the prism of moral on those women who were not openly involved in public life, and literary conventions of the period – and all literary but who produced written works between the executions conventions must of necessity be the faithful reflection of of Queen Marie-Antoinette and Olympe de Gouges in the prevailing moral conventions”8 was an aspiration for women autumn of 1793, and the creation of the Code Napoléon in writers throughout the eighteenth century. Although politics 1804.5 Writing by women in this period is therefore vital to and society were changing, morality (or at least the feminine our understanding of the effect that post-1793 events had on moral sphere) was not. The morally-instructive characters the social and legal status of French women. One such figure, of the callous libertine and vulnerable ingénue, adopted who has as yet attracted little critical attention, is Sophie early in the tradition of novel writing, were thus employed Cottin (1770-1807).6 Her case epitomises the challenges that throughout the eighteenth century.9 The hero and heroine faced a woman writer of this era: in Malvina initially appear very much to fit this mould. It Rationing as a result of revolutionary wars, and a lack of is in this tradition of libertinism that we are meant to view disposable income for the majority, would have narrowed Sir Edmond (the hero) when we first meet him. When we are introduced to Malvina, she is lonely and grieving and dresses 1. For information on de Gouges, see Candice E. Proctor, Women, Equality, to hide her sexuality, having been widowed at twenty-one. and the French Revolution (New York: Greenwood, 1990). 2. For information on Manon Roland, see Lucy Moore, Liberty: the Lives and Times of Six Women in Revolutionary France (London: Harper Perennial, This introduction is deceptive, however. As this paper shall 2007). argue, Cottin’s two characters can also be viewed as going 3. For the reaction of the French government post-1793 to women’s public involvement, see Proctor, Women, Equality, and the French Revolution, against the literary formulae of the era, as Cottin uses 169-171. her writing to problematise their social categorisation. In 4. For the revolutionary reaction against the political mobilisation of women, see Proctor, Chapter 8, 131-153. And Chapter 10, 169-188. subverting expectations, she opens up other ‘traditions,’ be 5. Carla Hesse, The Other Enlightenment: How French Women Became they social or political, to redefinition. To aid in explaining Modern (Princeton, N.J: Princeton University Press, 2001) gives a breakdown of the genres being published by women during the French Revolution, but these redefinitions two specific passages shall be analysed. does not analyse any genre in particular. Dominique Godineau focuses on the working-class ‘citoyenne’ in The women of Paris and their French Revolution 7. See Hesse, chapter two for more information. (Berkeley, Calif: University of California Press, 1998), and claims that, “after 8. Eva Jacobs et.al (eds.) Woman and Society in eighteenth-century France: the failure of the Prairial insurrection, there was no longer a mass women’s essays in honour of John Stephenson Spink (London: Athlone Press, 1979), movement.” (364), as it no longer served a political purpose. It is this 209. assumed apathy that I wish to deny through literary analysis. 9. This is most famously depicted through Choderlos de Laclos’ novel Les 6. With the exception of Michael J. Call, Infertility and the Novels of Sophie Liaisons Dangereuses (Paris: Durand Neveu, 1782), also highlighting the Cottin (London: Associated University Presses, 2002). adoption of the tradition among male novelists. 27 Though short, they epitomise the idea of redefining identity required through marriage). Cottin’s language choice in through interaction and raise some problematic questions this passage is telling of contemporary eighteenth-century about this redefinition. These passages describe the first attitudes to women, such as their lack of official identity meeting of Malvina and Sir Edmond. Malvina meets Sir (other than the one given to them by a patriarchal society). Edmond after others have given her strong opinions on his In this instance, the identity is given to her through marriage, character; her reaction to him unnerves and excites her at though previously she would have been the property of her the same time. Sir Edmond is aware that Malvina will have father. This legal status for women did not change with the been fed (possibly false) information about him, but is Revolution and was cemented in the Code Napoléon.19 intrigued to meet the mysterious woman who never attends their host’s dinner table. The interest in this passage lies Cottin follows this evocation of marriage with a quasi- not only in the sentimental importance of this moment in feminine description of Sir Edmond as possessing the the plot, but also in the subtext implicated in this chapter’s “charme de la sensibilité.”20 This creates some confusion subtitle, “Une Entrevue”: a meeting. A meeting of what, over his identity. Is Sir Edmond in touch with his emotions, however? Of minds? Of souls? Of polar opposites? To begin like Rousseau’s eponymous hero in Émile (1762)?21 Or was uncovering this subtext, an analysis of literary traditions is this sensitivity considered a mostly feminine trait during crucial. These conventions of eighteenth-century writing are the Revolution, when the active ‘citoyen’22 was defined as no less important, as they use the traditional to implement placing patriotic duty before personal feeling? This confusion the political. of gender traits, and the question of whether they remain positive when attributed to the opposite sex, serves as a Malvina meets her ‘hero’ reminder that though gender identities were being redefined throughout the revolutionary decade, these redefinitions 1 C’était une de ces physionomies où tout le feu de could not entirely erase previous social behaviours. It is, l’esprit s’unit au charme de therefore, not only Malvina who is struggling to fit into a new 2 la sensibilité et qu’il ne faut pas regarder deux societal mould, but also Sir Edmond. fois quand on veut conserver sa 3 tranquillité. – L’innocente Malvina ignorait ce The initial “charme”23 that strikes Malvina is then tempered danger et ce qui aurait dû by the revelation “qu’il ne faut pas regarder deux fois”:24 4 l’engager à fuir fut précisément ce qui la fit rester.” 10 This links Edmond with Classical mythology, evoking the image of the Greek Gorgon Medusa, with whom the danger 1 It was one of those faces where all the fire of the of looking was associated. Edmond appears to be set up spirit unites with the charms of here as a Greek figure, capable of both extreme benevolence 2 sensibility, and that one should not look at and dangerous acts, to be both idolised and feared.25 This twice, if one wishes to keep their initial note of caution is further emphasised by the use of 3 peace of mind. - The innocent Malvina ignored this the verb “conserver”,26 suggesting that Malvina needs to danger, and what should have protect herself from Sir Edmond, though we have just been 4 made her flee was precisely what made her stay.”11 informed that he possesses “sensibilité”.27 These competing emotions reflect the reaction of many to the Revolution. This passage opens with the juxtaposition of the demonic Cottin has achieved this through the use of emotive language “le feu”12 and the godly “l’esprit”,13 highlighting the natural and imagery, rather than direct reference, in order to evoke conflict within the individual. This serves as a reminder that the confusion surrounding revolutionary identity; a key even heroes and heroines have flaws: a lesson that the French technique in safeguarding her text from censorship. had learnt well by the year of the book’s publication.14The verb choice of “s’unit”15 evokes connotations of marriage and Though Cottin has used this passage to highlight Sir (in this context) the idea that opposites complement each Edmond’s possible dangerous nature, the final sentence other and can be united to create a new whole. The idealised states that “l’innocente Malvina ignorait ce danger”.28 This view of womanhood is also implicated:16 in ‘uniting,’ a woman phrase problematizes Malvina, as the choice of “innocente” ceases to hold any right to independence, be it in thought or and “ignorait” returns to the figure of the Ancien Régime deed. Her role changes to that of ‘devoir’,17 a word frequently repeated by Malvina in Cottin’s novel. (Interestingly, this ‘devoir’18 relates to motherhood and not to the supplication

10. ��Sophie Cottin, Malvina (Paris: Maradan, 1800), 116-117. 19. ��The Code Napoléon, created in 1804, was a civil code that replaced 11. ��Translations are my own. former feudal laws. The code left women with even less rights than before the 12. ��“Fire”. Line 1 in this passage. Revolution, giving them the same legal status as children and servants, and 13. ��“Spirit”. Line 1. quashing any remaining hope that French women may have harboured for 14. ��By 1800 there was a mounting feeling that the French Revolution had gender equality. failed; in particular, that the revolutionaries had failed the people and that 20. ��“Charm of sensibility”. Lines 1-2. society was “blasé and beleaguered”. See Moore, Liberty, 367. 21. ��É��mile�� was considered among many contemporaries as the model for 15. ��“to unite”. Line 1. the new ‘citizen’: both emotionally and intellectually educated, sensitive to 16. ��Rey-Debove, Josette and Alain Rey, eds. Le Nouveau Petit Robert (Paris: nature, religion and the feelings of others, yet never neglectful of his societal Dictionnaires Le Robert, 1993) defines ‘s’unir’ as “Ne plus former qu’un tout”: (and patriotic) duty. “No longer forming anything but a whole” (2342). This epitomises the loss 22. ��“Citizen” in English. of individual identity that a woman in the late-eighteenth century suffered 23. ��“Charm”. Line 1. through marriage. 24. ��“One should not look at [it] twice”. Line 2. 17. DefinedDefi ned as both “�“�Ê��tre�� dans l’obligation de (faire qqch.)”: “To be under 25. ��Although Medusa herself was considered a monster in Classical obligation to (do something)” and “L’obligation morale considérée en mythology, her image was used after her death to ward off evil spirits: thus, elle-même, et indépendamment de son application particulière.”: “The she became capable of benevolence as well as being a feared creature. consideration in itself of moral obligation, independently of its particular 26. ��“To keep”. Line 2. application.” (Rey-Debove and Rey, eds., Le Nouveau Petit Robert, 633). 27. ��“Sensibility” in English. 18. ��“Duty” in English. 28. ��“The innocent Malvina ignored this danger”. Line 3. 28 ingénue:29 the innocent and vulnerable virgin. Yet Malvina 3 He heard Malvina from afar, he approached her, is a widow, and thus the interpretation of her as an ingénue listening, and that voice resounded is tempered by the existence of her sexual knowledge. This 4 in his heart, teaching him that he has one, he highlights the problematic social status of the young widow; entered, she turned towards him, and as Cottin’s heroine is complicated through having the age 5 the charm was complete - The beautiful blond and appearance of an ingénue, mixed with the independence hair, whose and sexual awareness of an older woman. How, therefore, 6 rippling curls fall over her shoulders artlessly; did these young widows fit into the Revolution’s social the complexion resembling white roses redefinition of female identity? 7 which, tinged with a slight blush, left the eye uncertain about their The last sentence of this passage highlights Malvina’s 8 true colour; this alabaster neck, which was exceptional nature; she believes that the reasons why further emphasised by the mournful dress; anyone else might have fled from Sir Edmond are precisely 9 those black eyes fringed with long silky why she should stay.30 This dedication to a duty that needs lashes, and fulfilling, no matter the danger or difficulty, is tempered 10 whose tender and lingering gaze always by the alternative interpretation of her naïve femininity, strikes the heart; which makes her vulnerable to a man like Sir Edmond. Is 11 the modest and shy countenance, all sur Cottin depicting only one of these possibilities, or both? In prised and enchanted him; the universe acknowledging the link that a contemporary woman’s virtue 12 that he knew disappeared, a new world was had to her moral duty, Cottin has made Malvina no less opening up to him, he vulnerable, as she is still prey to the male sex on both a social 13 would unquestioningly throw himself in, and and legal level. This reflects the problem of women’s social live there with pleasure, if Malvina wanted to identity once again: for Malvina, obeying her duties (to her live adoptive daughter Fanny, and to Fanny’s dead mother) is not 14 there with him.32 the same as obeying her husband. Which one should define her according to the politics of the Revolution? The choice of “l’aspect”33 reflects Sir Edmond’s idealised interpretation of Malvina, based on her physical appearance. Sir Edmond’s ideal of womanhood This interpretation is key to understanding Sir Edmond’s reaction, as what he sees is more than a beautiful woman; 1 Mais si l’aspect de sir Edmond Seymour l’avait it is an assumption of idealised womanhood. Cottin goes surprise agréablement, on to describe Malvina as the purest, most innocent and 2 comment peindre ce qu’il éprouva en la voyant? virtuous of women. Yet this innocence and virtue is being 3 Il entend de loin Malvina, il s’approche, écoute, et projected onto Malvina by Sir Edmond, thereby portraying cette voix retentit a male ideal of female perfection that is long-standing but 4 jusqu’à son cœur et lui apprend qu’il en a un ; il ultimately deceptive. Is Cottin, therefore, questioning who is entre, elle se retourne, et responsible for the need to redefine women’s social identity? 5 le charme s’achève – Ces beaux cheveux blonds, dont les boucles Malvina is depicted in this passage as a Classical figure, 6 ondoyantes tombent sans art sur ses épaules; ce with her “boucles ondoyantes”, “teint semblable à ces roses teint semblable à ces roses blanches qui, nuancées d’un léger incarnat, laissent l’œil 7 blanches qui, nuancées d’un léger incarnat, laissent incertain sur leur véritable couleur”, and “cou d’albâtre”.34 l’œil incertain sur leur Cottin’s adoption of the Classical figure, also used by the 8 véritable couleur ; ce cou d’albâtre, que relève revolutionaries through the figure of Marianne,35 portrays encore la robe lugubre dont Malvina as willing to adhere to the newly-defined female 9 elle est habillée ; ces yeux noirs bordés de longues ideal. This description, however, also highlights the rupture paupières de soie, et in revolutionary France between the ideal and the reality: 10 dont le regard tendre et prolongé va toujours Malvina’s pure revolutionary appearance contrasts with frapper au cœur ; cette her “robe lugubre”36 of mourning, thereby linking her 11 contenance modeste et timide, tout l’étonne, with loss. This loss is practically explained as that of her tout l’enchante ; l’univers husband, proving this projected purity to be tainted by sexual 12 qu’il a connu disparait, un nouveau monde knowledge. Could Malvina also be mourning the loss of an vient de s’ouvrir pour lui, il s’y ‘ancien’37 social identity? This is not beyond explanation, as 13 précipite sans examen, il y vivra avec délices, the novel opens with Malvina alone following the death of her si Malvina veut l’habiter only female friend, so positioning her as cut off from society: 14 avec lui. 31 a marginalisation that was increasingly widened to include all women by the date of Malvina’s publication. 1 But if the appearance of Sir Edmond Seymour had 32. ��Translation is my own. pleasantly surprised her, 33. ��“Appearance”. Line 1. 2 how does one paint what he felt on seeing her? 34. ��“Rippling curls”, “complexion resembling white roses which, tinged with a slight blush, left the eye uncertain about their true colour” and “alabaster neck”. Lines 5-8. 29. ��For more information on the literary traditions of the French novel, see 35. ��For a history of Marianne, see Maurice Agulhon, Marianne into battle: Unwin, Timothy (ed.) The Cambridge companion to the French novel, from Republican imagery and symbolism in France, 1789-1880, trans. Janet 1800 to the present (Cambridge: Cambridge University Press, 1997). Lloyd (Cambridge: Cambridge University Press, 1981). 30. ��Lines 3-4. 36. ��“Mournful dress”. Line 8. 31. ��Cottin, Malvina, 117-118. 37. ��“Former” in English. 29 comparison with the portrait Malvina paints of him - is Malvina’s beauty is such that it shines through her pale, indicative of the importance that Edmond gives to this initial luminous skin and bright eyes, and is thus “relève encore la impression. At this point in the narrative the reader knows robe lugubre”38 concealing her. It is this physical modesty Malvina better than Edmond does, and thus is aware that she that attracts Sir Edmond to Malvina, as he sees a reflection is not as “modeste et timide”46 as Edmond would believe. of idealised womanhood. Religious devotion is implied, This key moment depicts the redefinition of identity through using dress to hide sexuality, thereby evoking nuns and initial interaction, and the individual’s reaction to this linking the ideal woman to her ‘proper sphere.’ She is the interaction. Yet Cottin insinuates a subversive element moral guardian of her children – exactly what Malvina has through her choice of language, thereby questioning this promised to be for her adoptive daughter Fanny. Cottin redefinition. In writing a heroine who appears as the ideal also endows Malvina with two of the key female ‘virtues’, of revolutionary womanhood and then placing her in a social according to religious teachings, Rousseau’s Émile and situation that prevents her from fulfilling the associated the revolutionary Jacobin government: she is “modeste et expectations, Cottin appears to be questioning the reality timide”.39 This once again places Malvina firmly within an of idealised womanhood for those who cannot be easily accepted female social identity. Her status as a young widow categorised, such as the young widow. with an adopted daughter, however, disturbs this model for Sir Edmond later in the narrative: he cannot reconcile As this article illustrates, this research is so far raising more Malvina as the obedient, pure and timid woman with the questions than it is answering. This is why the problem of strong mother who resists sacrificing her duties to marry. A changing political and social identities for women during the forewarning by Cottin to women against the influence of men French Revolution - and particularly in its aftermath - is so is given at the end of this passage, as Sir Edmond sees “un interesting. Writing in the period 1794-1804, particularly by nouveau monde vient de s’ouvrir pour lui, il s’y précipice sans women, is a valuable window on the highly complex, often examen, il y vivra avec délices, si Malvina veut l’habiter avec hidden, socio-political agendas of - and for - women. Though lui.”40 Note that this “nouveau monde” mentions “habiter”41, the revolutionary government abolished official religion, its but not marriage: despite Malvina’s portrayal as the ideal values were expected to be retained and upheld by women of redefined womanhood, Sir Edmond’s first thought is of a as moral guardians of the home. Though obscured by a lover, not a wife. lack of contemporary reception and in-print authors, this writing begins to illuminate how French women novelists It is important to remember that at this pivotal moment approached politics during the revolutionary era, as Cottin Malvina and Sir Edmond have not yet spoken to one another. highlights those women who were finding it difficult to fit into Cottin’s reminder is in the first lines, when she asks “comment the categories defined by the Jacobin government. Through peindre ce qu’il éprouva en la voyant?”.42 Sir Edmond’s this, she begins to interrogate the newly-defined positioning interpretation of Malvina has her ‘regard’43 strongly affect of women. The redefinition of identity through interaction those she meets: “le regard tendre et prolongé va toujours will always hold subversive potential, and, in uncovering the frapper au cœur.”44 This infers that Malvina has no need to elements of this subversion, hopefully some of the murkiness speak in order to influence others for the better. This again surrounding women of the French Revolution will begin to places her firmly within the domestic ideal of womanhood: clear. using example rather than her voice to guide those around her, while driven by benevolent motives rather than personal ambition. Yet Malvina changes later in the narrative, as she becomes more aware of the necessity to defend herself against the attacks and falsehoods of others. This switch from passive to assertive subverts the idealised view of womanhood. Cottin never radicalises Malvina, however, as her later repentance returns her to the conventions of womanhood, and her death at the end of the novel makes her a true revolutionary woman. Malvina sacrifices herself as a warning against un-virtuous behaviour, specifying to Mistriss Clare “apprenez sur tout à Fanny à ne jamais sacrifier le devoir à l’amour.”45

Redefining female identity These two passages demonstrate Cottin’s manipulation and redefinition of social models through the unattainable imagining of idealised womanhood. The very fact that Edmond’s description of Malvina is so long – at least in

38. ��“Further emphasised by the mournful dress”. Line 8. 39. ��“Modest and timid”. Line 11. 40. ��“a new world was opening up to him, he would unquestioningly throw himself in, and live there with pleasure, if Malvina wanted to live there with him..” Lines 12-14. 41. ��“New world” and “to live” in English respectively. 42. ��“How does one paint what he felt in seeing her?” Line 2: Emphasis added. 43. ��“Look” in English. 44. ��“Tender and lingering gaze always strikes the heart”. Line 10. 45. �� Cottin, Malvina, 4:233. “Above all, teach Fanny never to sacrifice duty for love”. 46. ��“Modest and timid”. Line 11. 30 Select Bibliography

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